Brandon LaBelle

The second edition includes a new preface by the author

Acknowledgements
Preface to the Second Edition
Introduction: Auditory Relations
Fade In

Part 1: 4'33": Sound and Points of Origin
Introduction to Part 1
Chapter 1 Sociality of Sound: John Cage and Musical Concepts
Chapter 2 Exposing the Sound Object:Musique Concrète's Sonic Research
Chapter 3 Automatic Music: Group Ongaku's Performative Labors

Part 2: Box with the Sound of Its Own Making: From Gags to Sculptural Form

Introduction to Part 2
Chapter 4 Rhythms of Chaos: Happenings, Environments, and Fluxus
Chapter 5 Minimalist Treatments: La Monte Young and Robert Morris
Chapter 6 Conceptualizations:Michael Asher and the Subject of Space

Part 3: I Am Sitting in a Room: Vocal Intensities
Introduction to Part 3
Chapter 7 Performing Desire/ Performing Fear: Vito Acconci and the Power Plays of Voice
Chapter 8 Finding Oneself: Alvin Lucier and the Phenomenal Voice
Chapter 9 Word of Mouth: Christof Migone's Little Manias

Part 4: Public Supply: Buildings, Constructions, and Locational Listening
Introduction to Part 4
Chapter 10 Tuning Space:Max Neuhaus and Site-Specific Sound
Chapter 11 Other Architectures:Michael Brewster, Maryanne Amacher, and Bernhard Leitner
Chapter 12 Composing Intensities: Iannis Xenakis's Multimedia Architectures

Part 5: Soundmarks: Environments and Aural Geography
Introduction to Part 5
Chapter 13 Seeking Ursound: Hildegard Westerkamp, Steve Peters, and the Soundscape
Chapter 14 Language Games: Yasunao Tone and the Mechanics of Information
Chapter 15 Complicating Place: Bill Fontana and Networking the Soundscape

Part 6: Global Strings: Interpersonal and Network Space
Introduction to Part 6
Chapter 16 Interactions: Achim Wollscheid's Production of the Local
Chapter 17 Global Events: Atau Tanaka and Network as Instrument
Chapter 18 Live Streams: Apo33 and Multiplying Place
Fade Out
Conclusion: Auditive Pivot
Appendix: Peripheries - subnature, phantom memory, and dirty listening
List of Works Cited
Index